The Making of the New Season, with Suzie LeBlanc

She’s one of the world’s great baroque sopranos, has seventy recordings to her credit, and has appeared with every elite early music ensemble on the planet during the movement’s formative years. Recruited by a headhunter, though she was not initially a candidate, Suzie LeBlanc (born in New-Brunswick, Canada) is now artistic and executive director of Early Music Vancouver (EMV), one of Canada’s top tier cultural institutions. Since taking over leadership of the company in 2021, LeBlanc has crafted programming that is bold and broad, and EMV’s 55th season is a kaleidoscope of riches: from Chopin on his favourite Pleyel to Bach refracted through Persian poetry, from jazz medieval mashups to full-on Vivaldi fireworks. EMV’s resident ensemble, Pacific Baroque Orchestra (PBO) gets its due and there’s even a digital program that beams designer concerts straight into your living room. Suzie LeBlanc talks about what’s involved in the planning stages of a concert season and some of EMV’s upcoming highlights. 

How was Early Music Vancouver founded? 

Suzie LeBlanc: EMV began in 1970 as a grassroots organization led by a group of early music enthusiasts who staged informal concerts and workshops. José Verstappen had been drifting into administration, and he became the official artistic director in 1979. He was followed by Canadian countertenor Matthew White in 2013 who stepped down in 2020. So, in its 55-year history, EMV has had only three artistic directors.

EMV is a presenting organization, yet you have a resident orchestra which is very unusual. How did that come about?

S. L.: Pacific Baroque Orchestra was founded in 1990 by Canadian Baroque violinist Marc Destrubé who stepped aside in 2007. Alexander Weimann became artistic director in 2009. Sadly, in 2013, PBO was going through severe financial difficulties. Matthew White saw an opportunity and with government funding brought the orchestra under EMV’s wing and it is now an official part of our organization. Having a house band, so to speak, does make us unique as a presenter.

And German-born Weimann came with PBO as music director.

S. L.: Yes! Alex is an extraordinary organist, keyboardist and conductor. We met 40 years ago in Berlin when we performed together, and we reconnected when he immigrated to Montreal. I admire him so much that I asked him to direct my recording of Handel’s Gloria. A huge draw for me taking on this job was to be able to work with Alex again.

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